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Moises Londoño

  • Date: September 2015

  • Country: Colombia

  • Topics: journeys, everyday life, drawing.


Bogota artist whose main interest is drawing from a theoretical and practical place. Through the idea of expanded drawing, he has developed projects with district and national entities. He conceives drawing as a way to organize and establish relationships with the world beyond the creation of two-dimensional images. This has also led him to be interested in pedagogy and the importance of drawing in education and areas of knowledge within and outside the arts. He is currently studying a Master's degree in Art Education at the National University of Colombia and develops individual and collective creation processes.

Residency process

The continuation of a journey

The project A Journey appears as a trigger to continue exploring the practice of an expanded drawing from a much more mental and relational process; In it, the subject facing a journey begins to establish diverse relationships with space, which begin to be thought of as drawings on different planes or supports of reality.

These drawings trigger reflections and actions on the notion of path and on space itself. We also begin to think about how much everyday life supports this notion of drawing, where it appears and how it begins to become a problem of intention for those who see structures, schemes, polarities and tensions that can be named as drawings in their daily actions.

The strategic lines of Casa Tres Patios (Thought, Pedagogy and Practice), liberate the project towards other routes and other ways of thinking about the journey, also bringing the artist's daily life to the process, integrating layers and interests of another nature.

Reality cutout

Far from thinking that at this time it is possible to make a study or to state some conclusions about the dynamics or differences in life between Bogotá and Medellin, I want to make some parallels and contrasts of my perception anyway. For which it seems important to clarify that this is only a clipping of my reality. That all ideas are crossed by opinions and that they bring a subjective world behind them that constitutes them.

This clipping of reality occurs mainly from my perception of the center of Medellin, the place where I stay and the journey that for various reasons I am interested in traveling.

Sometimes I try to compare it with the center of Bogotá, the place where I live and that I visit whenever I can. Sometimes I make abstractions and divisions, immediate schemes or assumptions (I think the drawing always appears). Sometimes I just stop to build mental maps, categorizing spaces and thinking about what gives rise to certain situations.

  • Intermediate space

Medellin is a place of intermediate spaces, it is given for diversity and range to occur in many ways.

The intermediate points also happen as points of relation between extremes, which soften them and make the borders blurred. In Bogotá the division between the expensive and the cheap is much clearer, between the recreational space of classes and the aesthetics of their places. What little I have seen of Medellin, especially the center, appears to me as a place of varied contexts, of strange changes in very little space. Perhaps it is not even that this phenomenon does not occur in Bogota, perhaps the important thing is the scale of the change, the change is much more given by points than by zones. The very representative Coltejer building is completely surrounded by street vendors, who next to it have shopping centers with very clean aesthetics. Next to very expensive restaurants you can see clothing sales

The body that draws

One Path Project:

- "Space and time become the supports where drawing is inscribed" - "drawing as action, as a form that occurs in time, as a thought process" - "to think about new approaches and care strategies; see the drawing in an even higher level, giving my own drawing body as a material for interaction, "ordering", tracing and even knowledge support "

Displacements: The journey has begun to stop being only from point A to point B. When leaving the neighborhood and entering the periphery, which is the center, I cannot stop wandering and entering the crowd, in the nooks and crannies of accumulation of sales and objects of all kinds, the noise and the amount of traffic trap me and make me gravitate over the area, only after a while can I return to point B or sometimes only from one close to it, to do the return run - body in Boomerang.

Support body: For there to be a drawing, there must be support, matter that generates form and the consciousness or force that relates matter and support. If the matter or tool that produces drawing is the body, on the support that is the path in its time-space, the scope of this material will be very timid and punctual, like a very timid line, it will hardly account for all the relationships and situations that occur along the way. But if we make a turn and we think that the body is not only matter and drawing tool but also support, which is affected and marked by the journey, by the passage of time and space, marked in its senses by everything that happens. Then there would be a lot of information written about the body and mind along the path that it draws.

- The main problem with this is the transcription of the experience and the drawing on the body into something to show. -


-Develop devices in which people can make their interpretation of the route, of the route either from the center or interpret the device freely-

1. Map of free connotations:

Make a map (model) with few rules and not very defined, like a game that proposes to whoever takes part in it to establish the function of the tiles and the connotations of the map, as well as their location. The first problem is how far this simplicity goes, how far to leave blank and how to generate the intervention process (invite, at the same time account for something but not determine everything).

Elements : A plan on graph paper (it is not known how drawn or defined), cards of different colors (they can be geometric shapes) (white, gray, red and green colors), sheets with format to establish connotations, camera to record what that has been done.

2. String map:

Generate a piece that can be intervened, a map of the path with white painted wood with lace (either in a grid or in key places) in which you can draw and tie wool of different colors between the tips, border, accumulate, join , etc. two points along the way. -travel and generate relationships-


From the Center to the Periphery (Center and concentro)

C3P is located in the downtown area, however it is a single center, like a center within the center. Everything happens around this neighborhood, but the neighborhood has a strange calm. It is as if its periphery is movement and it is felt, but nothing moves.

inside out / encounter and crowd / introversion and extroversion

Chronotopies of intimacy (Leonor Arfuch)

1. The intimate and the private as historical creation

- when and how is it created? - implications for us? - Think about life before this construction?

distance or opposition with the public and the social - systems / implications

2. The artist as a "renouncer" of intimacy in order to generate the appearance —– binds himself to intimacy when he does so

intimacy - (step) - appearance

3. With the strengthening of the bourgeois idea of intimacy, the idea of the public is also generated.

4. The door as a symbol - Division (border).

Outside - infinite house (self-enclosure) - refuge - finite

"Man is the border being who has no border"

Ground Cable - Parque Berrio 1,5

The road to Berrio park is more or less a kilometer and a half, until almost the Prado station there is not much commerce, only workshops and some street dwellers on the subway tracks. I make my way to the station through the streets of the neighborhood, making it even more uninhabited and "quiet."

When I get closer to the Prado station, I come out onto the track where the metro (51) goes. from this point (the Prado station) to the south (more towards the center) the movement immediately triggers, the silent border of the neighborhood is passed to enter into a congestion and accumulation of events and incredible movements.

Street fruit stalls and cell phone arrangements that are available every day, along the subway line, sale of clothes and all kinds of different objects ACCUMULATION - organization and ways of disposing everywhere, although this is similar to the center of Bogotá punctual phenomena of diversity and jumps in use occur, “intermediate spaces” (jumps in the relationships between the entire multiplicity of the center).

I will focus on this barrier, but also on the conditions of accumulation and variability of this center. The route for now would reach the green building with black bricks that is next to the Plaza Botero although it may change its arrival to a place where the intermediate dynamics explode more.

Wishing Park 1.5

The other route, which is also approximately a kilometer and a half, is to the other side of the house, the north. There is no choice because it is the opposite side, but because it reaches the other point of great concentration at various times, although the dynamics of use of the place are different.

Although the park of desires, the planetarium and the surroundings of the University of Antioquia also have a lot of informal commerce and movement, the dynamics in them are different.

- I'm not going to any of the tours at night, I don't know why. Maybe I'm interested in the flow of the day with more flow.

This seems to be a face of the flow and the more recreational concentration, the center is more of work and commerce. It could also be said that those who are close to the planetarium are more students and families with children.

The two routes 1.5 have in common:

-Large flow of people - the condition of the periphery with respect to the journey, in which it is this periphery where the flow occurs - street vendors (although with different conditions).

They have different:

- The velocities of flow over the space (it also depends a bit on the day and time) - the amount of visual information in the space -

Utility and obscurity

Between the usefulness of a drawing, whatever it is and for whatever it is useful for - against the idle and pleasant condition of the act of drawing itself, drawing just because, without plans.

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